1 THE TONAL

SYSTEM

1.1

TO THE TEACHER

Tonality is presented in this chapter primarily as a musical phenomenon

rather than a theoretical concept. The foremost objective is to demonstrate
tonality insofar as possible and only then to attempt an explanation of the
mechanism behind it.
The theoretical apparatus we propose in relation to the tonal system 1 makes
possible an explanation of relatively complex musical phenomena by means of
relatively few and simple perception-oriented concepts.
Dividing the tones of the major and minor scales into dynamic tones and
static tones, for instance, is of course neither new nor original. Nevertheless,
most of those who have previously used these concepts failed to point out the
range of implications inherent to their usage. In other words, they did not
sufficiently develop the theoretical apparatus required for a deeper understanding of the structure of the tonal system.
1
A distinction must be made between the tonal system, implying tonality in connection
with the major and minor modes, and tonality as a more general concept - pointing to the
presence of a tonal center (not necessarily in the framework of a major or a minor mode).(We
shall sometimes use the terms major mode or minor mode, instead of major scale or minor scale, to
imply some functional qualities relative to the respective scale.)

HARMONY

IN ITS

SYSTEMIC AND PHENOMENOLOCICAL ASPECTS

In striving to present the tonal system as the generator of various musical

phenomena and processes, we'feel it is of the utmost importance to emphasize
the part of such primary concepts as tonal code. The reader will come to realize
further on that such notions as primary melodic patterns (see 2.2), resolutions of
certain chords, doublings, functional progressions, cadences, and many others
which we regard as "natural phenomena" (resulting from musical instinct
rather than theoretical speculations) emanate in fact from the most primary
code of the tonal system - the tonal code (see 1.4). This code, which is
INTUITIVELY discovered and assimilated by anyone familiar with the music of
the tonal system, serves as a kind of compass enabling orientation. 2
A similar idea was formulated by Chomsky in connection with natural
languages:
Tout se passe comme si le sujet parlant, inventant en quelque sorte sa langue
au fuf et a mesure qu'il s' exprime ou la redecouvrant au fur et a mesure qu'il
l'entend parler autour de lui, avait assimile a sa propre substance pensante un
systeme coherent de regles, un code genetique [italicized by Piaget 3 ], qui
determine a son tour !'interpretation semantique d'un ensemble indefmi de
phrases reelles, exprimees ou entendues. Tout se passe en d'autres termes,
comme s'il disposait d'une ugramrnaire generatrice de sa propre langue. 4

1.2 TONALITY
If we wish to continue the following melody (Ex. 1), we shall sooner or
later be "obliged" to use the tone C (marked with parentheses).

''I fJ
EXAMPLE I

JJ IJ

The word "obliged" appears in inverted commas since the need which it
expresses does not stem from any theoretical requirement, but rather from a
most basic musical instinct ingrained in almost every person raised on the
music of the tonal system. The aspiration ofB (marked with an x) to reach C
in C major (Ex. 1)- while C does not pull towards B- emanates from the
rather amazing phenomenon of tonal center which is a primary datum in tonal
music (see 12.3).
2 Many of the analogies drawn between the scale in tonal music and the series in atonal
music are misconceived in this respect (see Chap. 40, Footnote 10; and 40.5.1).
3
This quotation is taken from Jean Piaget, Le structuralisme, Presses Universitaires de
France, 1972, p. 69.
4
Noam Chomsky, De quelques constantes de la theorie linguistique, Diogene, No. 51, p.
14. (This reference is given by Piaget - see Footnote 3.)

THE

TONAL

SYSTEM

The fact that B pulls towards C rather than the reverse (Ex. 1), gives a different significance to each of these two tones. B is an active, dynamic tone,
demanding resolution (see 1.3.2; 1.4) whereas C is a stable, static tone which
constitutes a resolution (see 1. 3.1). The C may move but it need not necessarily
do so, whereas the B tends to move and reach C sooner or later.
The feeling of C being a tonal center in C major is an outcome of the
degree of aspiration of each of the tones of C major to move (see 1.4).
Therefore, we may state that TONALITY CONSTITUTES THE ORGANIZATION OF
A GIVEN NUMBER OF TONES IN A MANNER WHICH CREATES AMONG THEM DIF-

The tonal center (called tonic in the major

and minor scales) is the tone having the lowest kinetic potential - the tone
towards which the other tones of the scale gravitate.
FERENCES OF KINETIC POTENTIAL.

STATIC TONES AND DYNAMIC TONES

1.3

The tones of the major and minor~ scales may be divided into two groups
according to their kinetic potential: static tones and dynamic tones.

1.3.1

Static Tones

The static tones are the fmt, third, and fifth tones of the major and minor
scales (the tones comprising the first degree triad - see 3. 3; 4. 2). These tones
have relatively low kinetic potential. They serve as points of resolution for the
dynamic tones (see 1.4) and constitute the stabilizing element of tonality
(Ex. 2).
EXAMPLE 2

The static tones in C major

3

11

first degree triad

1.3.2 Dynamic Tones

The dynamic tones are the second, fourth, sixth, and seventh tones of the
major and minor scales (Ex. 3). These tones have high kinetic potential and
demand resolution (see 1.4).
5

Any allusion to minor scale in this text is a reference to the harmonic minor scale, unless
otherwise indicated (see Chap. 23).

HARMONY IN ITS

EXAMPLE 3

SYSTEMIC AND PHENOMENOLOGICAL ASPECTS

The dynamic tones in C major

1.4 TONAL CODE

The dynamic tones are drawn to the nearest static tone as follows: the second tone is drawn to the fmt tone (to the third as well in the case of the minor
scale); the fourth to the third; the sixth to the ftfth; the seventh to the eighth 6
(ftrst 6 ) - Exs. 4, 5.
EXAMPLE 4

I~ ~-e2-1

EXAMPLE 5

li ~11
2- 3
2- 1

Resolution of the dynamic tones in C major

4- 3

---;o

--...

6- 5

7- 8

11

Resolution of the dynamic tones in A minor

.='11

=---

4 -

6 -

~+---

!!

7- 8

The above melodic progressions (Exs. 4, 5), which emanate from the
gravitational forces between the dynamic tones and the static tones, constitute
the deepest and most primary code of the tonal system; we will name this code
the tonal code.

1.5 TONAL TENSION

The tonal code creates an important factor: tonal tension 1 , resulting from
differences in the kinetic potentials 1 of the various tones of the scale.
Examination of Ex. 1 reveals that the tone B is tense. The tension which
we sense, however, is not inherent to the tone itself. It results from the
DIFFERENCE IN KINETIC POTENTIALS of the tones B and C, the B relati~g to
the C as the seventh tone to the eighth. In the following passage (Ex. 6) the
6
The tones of the major and minor scales arc usually numbered from 1 to 7. Number 8
( r.eferring to the fust tone) indicates here that the seventh tone moves to the first tone of the
scale by an ascending minor second rather than by a descending major seventh.
7
The terms tonal tension and kinetic potential are used here to allow a certain analogy
between the musical tension ingrained in tonality and electrical tension, defmed as the difference between potentials (see Chap. 40, Footnote 13).

THE TONAL

SYSTEM

tables are turned. The tense tone is now C (marked with an x) while B
(marked with a +) serves as a tone of resolution. The C relates here to B as a
fourth tone to a third tone, i.e., as a dynamic tone to a static tone, and not as a
static tone to a dynamic tone (as the eighth tone to the seventh tone) as was the
case in Ex. 1.
EXAMPLE 6

Chorale St. Antoni"

(x

1@ I Cf U

(+

r rIJ

See Footnote 8.

1.6 MELODIC DUCTUS

Melodic ductus 9 expresses the characteristic movement of the tones of a given

mode 10 - comprising meter and rhythm. (It is based, in the major and minor
modes, on a number of predetermined progressions resulting from the
gravitational forces between the dynamic and the static tones.)
Melodic ductus constitutes one of the most decisive factors in determining
tonality (a group of tones without melodic ductus cannot express an unequivocal tonality).
If we consider the four tones in Ex. 7, for instance, disregarding the order
in which they appear, we shall see that they can express more than one
tonality.
EXAMPLE 7

14

11

.,

Each of the following five excerpts (Exs. 8-12) is built entirely on the four
tones of Ex. 7. Example 8 is in G major, Ex. 9 in C major, Ex. 10 in A
Aeolian, Ex. 11 in F Lydian, and Ex. 12 in E minor. 11 The tonality of each of
these excerpts is established only by means of melodic ductus.
8
This melody (Ex. 6)- appearing in Haydn's Divertimento in Bb major- is given here
in G major for purposes of illustration.
9
This concept (as defined and explained here) is proposed by the author.
10
The reference here is not only to the major and minor modes (i.e. the major and minor
scales), but to other modes as well (see 35.3.2).
11
The tonality attributed to Exs. 11, 12 is less unequivocal than that attributed to Exs.
8-10.

HARMONY IN ITS

A melody in G major

EXAMPLE 8

If 1 J. ;, r
EXAMPLE 9

1ft

I'

SYSTEMIC AND PHENOMENOLOGICAL ASPECTS

r r r rr J
1

1J ;, r J J JJ J w

A melody in C major

E! tJ.ZitJ J 1n u 1n r

EXAMPLE 10

I J

11

A melody in A Aeolian

;~ r rtt FF:r J

EXAMPLE 11

A melody in F Lydian

I' i J !J I r J I fl

EJ IJ I J B I Cf J I B S I ~. (>

See Footnote 11.

EXAMPLE 12

I' I

A melody in E minor

r tr I r r I J D Ir I r g illJW

See Footnote I 1.

ut . f.i1=

2 PRIMARY MELODIC
PATTERNS

2.1

TO THE TEACHER

This chapter represents a further step in the development of the theoretical

apparatus related to the tonal system. The melodic ductus of the major and
minor modes is presented here in its most concentrated and crystallized form
- in six primary melodic patterns which are in fact the essential raw material
of most of the melodic lines subject to the tonal system. It will be shown, in
other words, that the above-mentioned melodic lines are constructed, for the
most part, from six well-defmed and predetermined melodic patterns.
In this matter also, we have remained faithful to our basic ideology, which
states that all musical activity (including theoretical) must be based on the
sense of musical hearing. This approach has forced us to use expanded patterns,
two of which - ornamental pattern and imagfnary organ point - purport to
depict in terms of what is HEARD that which the basic patterns can only
Jcscribe in terms of what is SEEN (see Introduction, Footnote 8).

HARMONY IN ITS

SYSTEMIC AND PHENOMENOLOGICAL

ASPECTS

The passage from the Mozart Piano Concerto, K. 488 (Ex. 39) is presented
here to demonstrate the prim~ry melodic patterns in a texture of melodic
polyphony. It is worth taking advantage of this passage to point out once more
some of the amazing aspects of the tonal system - especially tonal tension and
its influence on the formation of musical form. 1
The reader versed in linguistics will perhaps discover a certain similarity
between basic primary melodic patterns and linguistic kernel strings and between
melodic polyphony (or other combinations of primary patterns) and some transformational processes - namely conjoining and embedding transformations. This
reader will also realize that Mozart's famous melody, for instance (Ex. 39), is
in fact generated by applying "embedding and conjoining transformations" to
primary melodic patterns. He will also fmd that the same melody appears in its
"deep structure" form in Ex. 41 (see also Chap. 9, Footnote 3).

2.2 PRIMARY MELODIC PATTERNS

The relationships between dynamic and static tones have created a number
of ftxed and predetermined melodic patterns 2 which constitute the basic components of the melodic line within the tonal system. These patterns will be
referred to here as primary melodic patterns and will be divided into two groups:
basic patterns and expanded patterns.

2.2.1

Basic Patterns

This group includes the following three melodic patterns.

2.2.1.1

FORMATIONAL PATTERN

(F.P.)

This pattern constitutes a progression from one static tone to another

(different) static tone (Exs. 13,a-f).
1
The formal structure of this passage (Ex. 39) - four bars, two bars, two bars, four bars
- results to a certain extent from the necessity of resolving the tonal tension accumulated by
the irresolution of a number of dynamic tones in the first four bars. In line with the defmition
of composition by some as "the creation of musical problems and the fmding of the best means
for their solution", it may be said that the fmt four bars of this passage create the problems
(tonal tension) while each of the subsequent three sections (bars 5-6, bars 7-8, and bars 9-12)
provides, respectively, a solution for one of these problems. (Each section resolves a tension
previously created by the irresolution of a certain dynamic tone.)
2
Six of these will be pointed out here.

PRIMARY MELODIC PATTERNS

,a.

EXAMPLE 13

Formations! patterns in C major

--

--

e.

11

1$

11

11

11

Cl

11

11

-6-

f.

11

d.

c.

b.

11

--

11

2.2.1.2 CONNECTIVE PATTERN (C.P.)

This pattern is composed of two different static tones connected by one or
two dynamic tones in step progression (Exs. 14,a-c).
EXAMPLE 14

Connective patterns in C major

c.

b.

~a.

--a

--

lawalaa

11

11

11

2.2.1.3 PROLONGATIONAL PATTERN (P.P.)

This pattern contains a static tone and the return to it where one or three
dynamic tones in step progression separate the given tone from its reiteration
(Exs. 15,a-g).

'

e.

d.

~a.

11

11

g.

11

I*

The following chorale melodies from the chorales by]. S. Bach are built
mtirely on the three basic patterns (Exs. 16-~3). 3
3 The chorale numbers indicated for these melodies are in accordance with those given by
Albert Riernenschneider in the Schirmer edition.

10

HARMONY IN ITS

EXAMPLE 16

SYSTEMIC AND PHENOMENOLOGICAL

Chorale No. 50 (F,major)

re:;'

fF,P.'

if~~~ J I J

fJ r I F'

C.P.

C.P.

EXAMPLE 17

Chorale No. 6 (F major)

'F:P.'

14 ~e

C.P.

JIJ J J

P.P.

EXAMPLE 18

t:\

Chorale No. 30 (E minor)

fF.P.\

f""F.P.l

C.P.

14#e J . r f?TI r J J J I TJ
P.P.

EXAMPLE 19

Chorale No. 41 (C major)

fF:P.1

I@ e J I J J J
P.P.

EXAMPLE 20

C.P.

r Ir r r

Chorale No. 60 (D major)

C.P.

EXAMPLE 21

C.P.

Chorale No. 68 (F major)

C.P.

14~e J I J J J

P.P.

P.P.

t:\

J) I j

J l
C.P.

ASPECTS

11

I'RIMARY MELODIC PATTERNS

EXAMPLE 22

Chorale No. 32 (A major)

P.P.

r
EXAMPLE 23

Chorale No. 202 (D major)

P.P.

lisij B

j j j j I j

/':\

j I

The basic patterns are manifested in some cases as pertinent units at the
perceptive level.
There are other cases, however, in which these patterns are not perceived
as pertinent units, due to the prominence of other organizational principles the rhythmic-thematic organization of the melody (Ex. 24), the distribution of
the melody across separate differentiated registers (Ex. 38), etc. 4
In the following excerpt, for instance, neither the connective pattern B~-A
G nor the prolongational pattern G-F#-G is manifested as a pertinent unit at
the perceptive level (Ex. 24, bar 1). This is due mainly to the prominence of
the tones A-G-F# (marked with an x above the notes), which attain the status
of a motivic feature.
EXAMPLE 24

Chorale No. 72 (G minor)

X

j
C.P.

P.P.

The motivic organization of the excerpt in question - indicated above the

notes (Ex. 24) - is not in contradiction with the presence of the connective
and prolongational patterns - marked below the notes (Ex. 24). We should,
however, distinguish between the various levels of melodic organization the level of basic melodic patterns and other levels, such as the level of motivic
organization - and bear in mind that one of them may sometimes be more
prominent than the other.
4
It seems almost impossible to enumerate all the factors likely to determine the way in
wluch we perceive a melody. Furthermore, the same melody may sometimes be perceived in
'<'VL"ral different ways by the same listener (Exs. 32-35).

12

HARMONY

/.\' ITS

SYSTEMIC

AND

PHENOMENOLOGICAL

ASPECTS

2.2.2 Expanded Patterns ,

The reader interested in a perception-oriented analysis will refuse to
analyze the following passage (Ex. 25) on the basis of the basic patterns alone
(although this is technically feasible).
EXAMPLE 25
i:~

I@

Chorale No. 5 (G major)

I

C.P.

FI F U U FI U
1

r,..

rr

P.P.

The analysis given in Ex. 25 is unsatisfactory for a musically oriented ear.

In this passage neither the connective pattern D-C-B (marked above the notes)
nor the prolongational pattern B-C-B (marked below the notes) is really
heard as such. The tone C appearing at the beginning of the last bar continues
to sound in our interior-mental hearing until its reappearance (following the
B). Consequently, the tone B - appearing between the C in the last bar and
its reappearance - is not perceived as a constituent of the connective and
prolongational patterns presented in Ex. 25, but rather as a tone prolonging
the C (see 2.2.2.2).
In order to analyze such passages as the above, while considering perception, several additional patterns must be introduced - the expanded patterns
(derived from the basic patterns by means of transformations).

2.2.21

EXPANDED FORMATIONAL PATTERN

(E.F.P.)

This pattern consists of two static tones, separated by a dynamic tone

located a second apart from one of the static tones and more than a major second apart from the other (Exs. 26, 27 - marked with an x).
EXAMPLE 26

Chorale No. 65 (G major)

i
~
@~ n J '!' J J

EXAMPLE 27

E.F.P.

r,..

xl

r r r ~ r
1

Chorale No. 37 (A minor)

E.P.P.

x'

I~ e r r r r I r
P.P.

c.P.

ur
I

r,..
I

13

I'R/MARY MELODIC PATTERNS

2.2.2.2

ORNAMENTAL

PATTERN

(O.P.)

An ornamental pattern consists of one or more tones of relatively short

duration, embellishing a tone - usually a dynamic tone. The embellished
dynamic tone generally appears in a connective or in a prolongational pattern.
Thus, the ornamental pattern - including the embellishing tones and the
embellished tone - usually creates an expanded form of connective or
prolongational pattern (Exs. 28, 29 - marked with an x).
EXAMPLE 28

Chorale No. 28 (B minor)

x'

' O.P.

rI U

C.P.

EXAMPLE 29

1':\

Chorale No. 271 (E minor)

r....

C.P.

)
L---~C~.P~--~

2.2.2.3

IMAGINARY

ORGAN

L---~P~.P~--~

POINT

:J

(I.O.P.)

There are circumstances in which certain tones of a melody may produce

in our interior-mental hearing the effect of an organ point (a prolonged
tone). 5 This organ point is not an objective phenomenon, but rather one of a
subjective nature. We shall call it imaginary organ point.
An imaginary organ point is generally produced when a metrically accented tone is departed (usually by descent) and then returned to. 6 The
imaginary organ point begins with the appearance of the accented tone and
continues in our mental hearing until the reappearance of the same tone.
The imaginary organ point, which we may consider as a particular type of
prolongational pattern, creates a kind of two-part polyphony which we shall
call melodic polyphony (see 2.4). The organ point tone constitutes one of the two
parts of this polyphony - usually the upper part - while the intervening
tones constitute the other part.
5
Additive hearing enables us to hear, in addition to the actually sounding tones, tones
which are not actually sounded. This can happen, of course, only under speciftc contextual
conditions (see Introduction, Exs. VII-IX).
6
An imaginary organ point may also appear, in certain cases, when a tone a second above
or below the initial tone of departure replaces its reiteration.

14

HARMONY IN ITS

SYSTEMIC AND PHENOMENOLOGICAL

ASPECTS

The following excerpt (Ex. 30) represents a typical case of imaginary

organ point.

EXAMPLE 30

Chorale No. 14 (G major)

1':\

I.O.P.

~~~e J I J J J J I J J
~
I

C.P.

The tone G in the fmt bar continues to sound in our interior-mental hearing until its reappearance in the second bar. The tones F#, E, and D (appearing
between the G in the fmt bar and the G in the second bar) create a kind of
prolongational pattern with the two G's. The passage in question therefore
sounds as follows (Ex. 31).

EXAMPLE 31

It is worth noting that the imaginary organ point is subject to personal

interpretation, to the extent that the SAME PERSON may interpret the SAME
MELODY in several DIFFERENT WAYS.
We shall illustrate this claim with the following excerpt (Ex. 32).
EXAMPLE 32

Chorale No. 47 (D minor)

J J IJ J J
The above melody (Ex. 32) may be interpreted in two different ways,
depending on the tone concentrated upon. While the interpretation of the A as
an imaginary organ point is rooted in our concentration on the tone A (Ex.
33a), the interpretation of the F as an imaginary organ point results from the
concentration of our hearing on the F (Ex. 33b ).

15

PRIMARY MELODIC PATTERNS

EXAMPLE 33a

J J
EXAMPLE 33b

J J IJ i
r

The following excerpt (Ex. 34) can also be interpreted in two different
ways (referring mainly to the imaginary organ point), depending on the key
in which we interpret the melody.
EXAMPLE 34

Chorale No. 31

n El r

If., r 1r

eEl r r

The above melody (Ex. 34) can be interpreted in two different keys either in C major or in A minor. While the tone C can be perceived as an
imaginary organ point in relation to C major (Ex. 35a) this tone hardly
produces such an effect in relation to A minor (Ex. 35b ).

EXAMPLE 35a

-#
1@ e f

II.O.i
f J UEI[Ur
C.P.

EXAMPLE 35b

ce

C major

O.P.,

A minor

r r

L..-.---"-C._P._ _ _~

16

2.3

HARMONY IN ITS

SYSTEMIC AND PHENOMENOLOGICAL

ASPECTS

MELODIC FRAMEWORK

Melodic lines may be divided into three categories according to the

number of different static tones appearing in the melody:
a. melodic field - a framework in which all three static tones are present
(Exs. 16-19);
b. melodic cell - a framework in which only two of the three static tones
are present (Exs. 20, 21);
c. melodic pivot- a framework which includes only one of the three static
tones (Exs. 22, 23).
While the melodic field usually expresses one tonality only, the melodic cell
and the melodic pivot can generally be assigned several tonal interpretations and
may be harmonized in more than one key. The chorale melody in Ex. 21, for
instance - constituting a melodic cell - is presented below in two different
keys: in F major (Ex. 36a) and in D minor (Ex. 36b ), while the melody given
in Ex. 22 - constituting a melodic pivot - is harmonized in three different
keys: in A major (Ex. 37a), in E major (Ex. 37b ), and in C# minor (Ex.
37c).

EXAMPLE 36a

Bach: Wenn wir in hochsten Noten sein (F major)

EXAMPLE 36b

(D minor)

17

PRIMARY MELODIC PATTERNS

EXAMPE 37a

11"' #

!if

Bach: Nun danket alle Gott (A major)

I':'\

1 J .. J 1 1
-- +

I" f

-~

\;,I

(E major)

EXAMPLE 37b
11"' !t

t.J

EXAMPLE 37c
11 .-

+t

r~

_J

I
I

J
loo...J

--

J ~J

'f
1

_J
\;,I

(C-sharp minor)

1'

~~- Jh.. J

_J_

\;,I

2.4 MELODIC POLYPHONY

We have termed the type of two-part polyphony found in the imaginary
organ point melodic polyphony (see 2.2.2.3). Before attempting to apply primary
melodic patterns to an analysis of instrumental music (see 2.5), we ought to
take a look at a more highly developed form of melodic polyphony (Ex. 38).
EXAMPLE 38

Bach: Partita II for Solo Violin, Chaconne

(cont.)

18

HARMONY I.'J ITS

EXAMPLE 38

SYSTEMIC AND PHENOMENOLOGICAL

ASPECTS

(continued)

m ~J a J

a ~
1

Example 38 represents a typical case of melodic polyphony (the upper and

lower parts are notated with upper and lower stems, respectively).

2.5

FURTHER CONSIDERATIONS REGARDING

MELODIC STRUCTURING

The fmt four bars of the following melody (Ex. 39) represent two-part
melodic polyphony - as shown in Ex. 40a. Each of the two parts - notated
in Ex. 40a with upper or lower stems, respectively - is composed of basic
primary melodic patterns, as shown in Ex. 40b.

EXAMPLE 39

~ Andante

Mozart: Piano Concerto, K. 488 (upper part)

"""

tf& 2 E1! C1JI EiJ ftfO f41J I4il!dd!J) ' I

14'hu 8f-NIf- 1 "IO~ur-rBWta 1

8

~~#~ piW'" I.:ED J l>I1EU c@QJ 4 J!IJ n I

EXAMPLE 40a

~~~f I ffl JP I )l V .ll '

FTbf hli ~

19

I'R /M.iR }' MELODIC PATTERNS

EXAMPLE 40b
C.P.
l'ul

tl

;u

f:l

: fl !.1 tl

I
I

t)

C.P.

C.P.

'"

The 0 in the third bar (Ex. 39, marked with an x) does not belong to either
of the two voices isolated in Ex. 40b. It should have been resolved to C~, but
it remains without resolution in the first phrase (until the end of the fourth
bar). This creates a tension which requires resolution. The purpose of the f1fth
and sixth bars is to resolve the tension created by the unresolved 0 in the first
phrase. The fifth bar begins with a 0, thereby creating a link with the 0 in the
third bar. This 0 is ornamented throughout the fifth bar and is resolved (to
C~) in the sixth bar. The fact that the C# is immediately preceded by aB#
further enhances the demand for and anticipation of the C~. As a result, this
C~, anticipated since the third bar, is heard as a very desirable, significant, and
refreshing tone.
The seventh and eighth bars play a role similar to that of the fifth and sixth
bars. Another look at the first four bars reveals that the tone A in the third bar
is too short (a sixteenth note) to provide a satisfactory resolution for the B in
the second bar. This B then remains unresolved and the function of the seventh
and eighth bars is to provide this tone with a resolution. From the beginning
of the seventh bar until the beginning of the eighth bar the B is heard in an
embellished form (as was the 0 in the fifth bar). Only at the end of the eighth
bar does the much desired tone of resolution appear: the tone Aq, preceded by
an A~, which further augments the anticipatory tension.
The first four bars end with an unresolved E~. The resolution of this E~ is
provided by the last four bars (bars 9-12), more precisely by the F~'s in bars 11
and 12. The Gq' s in bars 9 and 10 create a great deal of tension and aspire to be
resolved by F~. Hence, these Gq's intensify the need for F~ (fmt felt with the
appearance of E~ in the fourth bar) and therefore fulfill a role analogous to
that of the B~ in the sixth bar (this B# increases the demand for the C#,
originally created by the 0 in the third bar).'
Following (Ex. 41) is a schematic description of the entire passage (see 2.1,
last paragraph).

20

HARMO,\IY 1.\1 ITS

SYSTEMIC AND PHENOMENOLOGICAL

ASPECTS

EXAMPLE 41

1 J

_lLio! _tl

_;_

J
I

- -- -

1..t!l

t)
";,j

"

;,j

---

"r ---- ---

- --------- ---

u_-- - - - -

----- ----

---- --

......

1.JJ!
t)

"

;,j

u -

I!

""' "

--

....___....

-----